Daveportivo's Cultural Evaluation Facility

Rihanna dominated the charts like no other in 2010 (even as we speak she has two singles in the UK top ten), yet while much of her best work came in the form of singles she also produced some staggering album tracks on Loud. "Man Down" was one such work, Rihanna decides to use her Barbadian accent to punctuate this slice of dance-hall inspired dark humour. Rihanna sings beautifully about shooting and killing her lover in grand central station, the track has a wonderful melodramatic quality; it's humorous and over-elaborate but it's also touching thanks, in large part, to Rihanna's wonderfully controlled delivery.

There are so many accolades a young artist can aspire to; an Ivor Novello, a Mercury Music Prize nomination, a five star review, and hipster approval courtesying of Pitchfork amongst other things, but few artists just beginning to make their way in the world can expect a five star recommendation courtesying of John Prescott. While the former Deputy Primeminster might not garner her credibility he certainly assured Rumer some media attention, and thankfully for her sake she delivered with tender ballads like "On My Way Home". Subtle, slow, not showy in the least, "On My Way Home" is classic soul, that plays within the rules but manages to hit all the right notes. (Sorry no video)

Shoegaze lamentations laid over classic eighties indie guitar work has become all the rage in the last few years. Thankfully, rather than being a watered down derivative Wild Nothing manage to sound both crisp and dreamy by substituting genuine innovation for immaculate delivery. "Gemini" is a wonderfully textured work, with a real soft and floaty quality the track manages to give the impression of being airy and lightweight, without actually being lightweight, the result is an endearing and substantial work. "Gemini" is what I imagine being haunted by The Smiths would sound like, and believe it or not, that's a good thing.

When it comes to the most distinctive sounds in music today, it's hard to think of a band more easily identifiable than Belle & Sebastian. Given their love of 60s pop music you'd think they'd sound derivative but they still don't; Stuart Murdoch still sounds like Belle & Sebastian and so does "Write About Love", and that's no bad thing. This is glorious charming and immediate pop music the kind that makes you wants to sing, dance and run around screaming your heart out all at once. You may be able to set your watch by Belle & Sebastian's sound, but you'd be hard pressed to think of a band who pen better pop songs.

M.I.A had a rough year in 2010 but it didn't stop her from penning a gorgeously escapist day dream called "Space". The track first emerged as a leak called "All Dat I See" before being fully revealed on /\/\/\Y/|. In the early months of the year there was still genuine hope for her forthcoming LP and "Space" created a frenzy. Supposedly a response to violence in Sri Lanka the track actually worked best as a weightlessly exploration of freedom starting with wonderfully direct line "Gravity Is My Enemy".

Some track's take genuine balls; when a pop group pen a track so big in scope and so shameless as "Fire With Fire" they risk a life time of ridicule if said track should flop. Jake Shears must have been terrified when he had to take to the stage of Glastonbury just a week after "Fire With Fire's" release and belt out that first verse. Luckily for him he had nothing to fear, as "Fire With Fire" is yet another brazen eighties anthem delivered with the Scissor Sisters' usual panache. Grand, inescapable and bold; qualities that at one time or another all great pop stars must display and that "Fire With Fire" has in spades.

Mark Ronson may just be the king of retrospection, while many others have attempted to revitalize the 80s few have succeeded quite as handily as Ronson. Part of Ronson's success is due to his sheer irrevence, it's hard to avoid "Bang Bang Bang's" charm, it's quirky awkward but always immediate. It's dated synth are produced with a nod and a wink and Q-Tip delivers a playful rap with a soothing tongue in cheek flow. While all this is going on Amanda Warner sets about serving up some self assured hooks with a real swagger that verges on being obnoxious. The whole thing came together in such a slick fashion that "Bang Bang Bang" became instantly quotable and eminently hummable.

Has misery, self-doubt, bitterness, hate and depression ever been this much fun? Honestly John Grant sounds like he's having a riot across Queen of Denmark like the Rufus Wainwright singing an uber Queen ballad but with more humour and wit than either of those acts could ever muster. It's all about those ridiculous one liners, John Grant is the king of melodrama, he switches from the heartbreaking to the ridiculous mid sentance ("Whose Going To Be The One To Save Me From Myself, You Better Pack A Stun Gun And A Crow Bar"). John Grant's humour makes him completely unpredictable, you can tell a jokes coming, but you need God like prescience to guess the punch line. Honestly, even on the sixth listen I'm still surprised to hear: "I Hope You Know That All I Want From You Is Sex, To Be With Someone Who Looks Smashing In Athletic Wear." WTF right? But in a good way.

Robyn ironically rages over a sexy and low key electronic beat. That's it, that sums up "Don't Fucking Tell Me What To Do", it's simple but it's incredibly effective.

Okay longer version: Robyn leads us through everything that's killing her from her label and her PMS to her heels and her mother, it's a strangely captivating listening, as the arrangement gets steadily complex with electro burbles and subtle strings all building to one big bass drop. Gorgeously subdued, out of the spiraling quasi-rant come some genuine gems "Can't Sleep It's Killing Me, My Dreams Are Killing, The TV Is Killing Me, My Talking Is Kiling Me" but of course if you're not in the mood for reflection you can just dance to one of the year's most hypnotic beats.

So how do you make one of the year's best singles even better? Add Robert Fripp of King Crimson fame of course. The god of left of centre prog rock was a natural fit for Grinderman's bizarre and barmy second album. Lyrically Nick Cave is just a riot firing out feral lyrics with a sense of menace only equalled by his humour: "You Think Your Great Big Husaband Will Protect You? You Were Wrong. You Think Your Little Wife Will Protect You? You Were Wrong." It's all a riotous good time and of course Fripp is on hand to delivered a sky scrapper sized solo that feels jaunty, uncomfortable and most of all cool as all hell. Oh and the video isn't bad either.